From Publishers Weekly
Cars from Sweden are known for being dependable and safe, but like this American debut from a celebrated Scandinavian crime writer, their stolid lines don't necessarily spark excitement. Erik Winter, a jazz-loving, gourmet-cooking detective, is a blaze of color amid the drab postwar apartment blocks of Gothenburg, a city reeling from a macabre double murder. Winter, whose normally secure battlements are assaulted by family tragedy and the impending birth of his first child, sets out to follow the dark drops of gore blooming in the snow. The path leads in any number of interesting directions—through thickets of death metal enthusiasts and swingers, through winds of psychosexual trauma—but these subjects never pierce the book's colorless atmosphere. Excessive exposition slows down an already unhurried plot, which Americans fond of glib investigators on CSI
and Hannibal Lecter's piercing irony will find insufficiently suspenseful. The villain is comparatively bland, and the translation often awkward: Winters takes a "softly softly approach" so that his witness doesn't get "chary." Add in an insistence on mundane details, such as the particulars of a simple bank transaction, and the results smother any flame of personality. All the blocks that built this gothic ice cathedral are cut straight, but assembled without the design of a compelling thriller.
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Eric Winter, at 40, is Sweden's youngest chief inspector, but his brow is already starting to furrow in the manner of Henning Mankell's Kurt Wallander. In this American debut of what promises to be a superior procedural series, a plethora of seemingly insoluble problems contribute to Winter's sense of growing discontent: his father is dying in Spain; his pregnant girlfriend is moving into his apartment; and a bloody double murder suggests a serial killer. As in the Wallander series, the focus here lands not only on the hero but also on his entire team, as Edwardson details the slow grind of the investigative process. The action, beginning in fall 1999 and extending into spring 2000, effectively uses the Y2K panic to heighten the sense of troubled waters approaching that grips Winter and those around him. The comparison to Mankell is obvious, but in many ways, this series harkens further back, to Sjowall and Wahloo's early Martin Beck novels, in which another youngish Swedish inspector was beginning to realize that sometimes a crime's solution solves nothing. Bill OttCopyright © American Library Association. All rights reserved
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